Monday, August 13, 2018

SECRETS REVEALED! William Stout’s Rackham/Dulac Technique « William Stout's Journal

SECRETS REVEALED! William Stout's Rackham/Dulac Technique « William Stout's Journal

SECRETS REVEALED! William Stout's Rackham/Dulac Technique

Some of my most popular pictures are in what I call my Rackham/Dulac style (after two turn-of-the-century children's illustrators who used this technique extensively, Arthur Rackham and Edmund Dulac). It dates back a hundred years or so but it's pretty easy to do. Here's how:
1) Pencil your picture.
2) Ink your picture with a Hunt crowquill pen, using a 50/50 mixture of waterproof black (India) and sepia inks. That will make your black a nice warm black.
3) After the ink is dry, erase the pencil lines.
4) Mask off your image using white art tape.
5) On your palette, prepare a little pool of raw umber watercolor.
6) Quickly soak the image using a very wet fine-grained sea sponge (or "art sponge"), then wring out the sponge.
7) Using a wide (about three quarters of an inch) Aquarelle watercolor brush, cover your image with the raw umber watercolor.
8) Using the wringed-out sponge, dab and blot up the raw umber watercolor in the areas of your picture that you want to remain light. You may have to wring out your little sponge several times during this process. Work quickly (and near a sink) before the watercolor dries. This will give your image an antique parchment look. You can also add a little raw umber with a smaller brush (not too small) to the areas you want to be darker.
9) While the picture is still wet you can add and perform any wet-on-wet techniques you care to (I usually do this in the sky areas, adding various colored tints).
10) Let the picture dry a little bit, then start adding layers of transparent watercolor to your piece, slowly building up the color to what you want it to finally be.
11) After your picture has dried, use an eraser if necessary to lighten some of your watercolor.
12) When dry, you'll notice that sometimes your watercolor has greyed-out some of your black pen lines. Mix up a batch of colored ink (never dyes) appropriate to your color scheme with a lot of water to get a nice PALE transparent wash. Brush this over your picture. It will do two things: It should unite your color scheme and it should also bring back the intensity of most of your pen lines.
13) Sometimes adding a touch of Prismacolor pencils is called for to bring out some highlights (I use the Cream and Sand colors a lot for this), darken some shadows or add some complementary "color sparks" to your picture.
14) Carefully remove the white tape.
15) Retouch with white goauche any unsightly color bleeds if necessary. If you need to pop in any white highlights on your piece, now's the time.
16) When completely dry, spray the piece with Krylon Crystal Clear acrylic coating. Don't breathe that stuff — you'll end up with plastic lungs!

As a result of all this work, you should have a brand new ancient-looking masterpiece!

Tuesday, June 26, 2018

You Don’t “Find” Your Passion in Life, You Actively Develop It, Explains Psychologist Carol Dweck, Theorist of the “Growth Mindset”



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You Don't "Find" Your Passion in Life, You Actively Develop It, Explains Psychologist Carol Dweck, Theorist of the "Growth Mindset"
// Open Culture

You might spend your whole life trying to find your life's passion, or passively hoping it comes to you. Many have done so and, tragically, have never discovered it. Were they looking for purpose in all the wrong places? Maybe. Or maybe the idea that our life's calling waits out there for us to find—like the fairy tale notion of a one true perfect love—is kind of crap. That's not how Stanford psychologists Carol Dweck and Gregory Walton put it, exactly, but their research suggests that "the adage so commonly advised by graduation speakers," as Stanford News reports, "might undermine how interests actually develop."

In other words, when people think of interests or talents as "fixed qualities that are inherently there," they are more likely to give up on pursuits when they encounter difficulty, believing they aren't destined for success. Working with data acquired by Stanford postdoctoral fellow Paul O'Keefe (now at Yale), Dweck and Walton explained some recent research findings in a paper titled "Implicit Theories of Interest: Finding Your Passion or Developing it?" The article is forthcoming in Psychological Science, and you can read a PDF version online.

The paper describes five studies on "implicit theories of interest" and contrasts a fixed theory with a "growth theory" of interest, an idea that comes out of Dweck's prior research on what she calls a "growth mindset." She has published a bestselling book on the subject and given very popular talks on what she calls in her TED appearance in Sweden above "the power of yet"—a phrase she derives from a high school in Chicago that gave students the grade of "not yet" when they hadn't successfully passed a course. This hopeful assessment encouraged them to keep trying rather than to think of themselves as failures.

Dweck tells her TED audience about giving a group of ten-year-olds' problems she knew would be too hard for them to solve. Those with a "growth mindset" responded with excitement, eager for a challenge and the opportunity to expand their capabilities. The kids who had a "fixed mindset" crumpled, feeling like they had been judged and come up wanting. "Instead of luxuriating in the power of yet," says Dweck, "they were gripped in the tyranny of now." Children thus "tyrannized" by feelings of failure might be more likely to cheat rather than study, make downward comparisons to boost feelings of self-worth, or become avoidant and "run from difficulty."

These strategies are even visible in images of brain activity. None of them, of course, will lead to progress. But Dweck claims that the problem is endemic to a generation of people who need constant validation and who fold when they meet challenges. So how can parents and teachers help kids become more growth-oriented or, in Dweck's lingo, build "the bridge to yet"? Her recommendations may not sound that revolutionary to those who have followed the backlash against the well-meaning but misguided "self-esteem movement" of the past few decades.

For one thing, praising effort, rather than intelligence or talent, will help kids develop more resilience and value ongoing process over instant results. Judicious applications of "good try!" go much farther than repetitions of "you're brilliant and amazing!" Dweck's other strategies involve a similar focus on process and progress. Unsurprisingly, when we believe we can change and improve, we are far more likely to work at developing talent, instead of assuming we've either got it or we don't, an unscientific and self-defeating way of thinking that has done a lot of people needless harm. Dweck and her colleagues show that our life's passion isn't a fully-formed thing out there waiting for us, or an inborn, immutable quality, but rather it comes as the result of patient and persistent efforts.

via Stanford News

Related Content:

What Is Procrastination & How Can We Solve It? An Introduction by One of the World's Leading Procrastination Experts

What Are the Keys to Happiness?: Take "The Science of Well-Being," a Free Online Version of Yale's Most Popular Course

Why Incompetent People Think They're Amazing: An Animated Lesson from David Dunning (of the Famous "Dunning-Kruger Effect")

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

You Don't "Find" Your Passion in Life, You Actively Develop It, Explains Psychologist Carol Dweck, Theorist of the "Growth Mindset" is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.


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Graham & Brown Launches Wallpaper Collection with Brian Eno



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Graham & Brown Launches Wallpaper Collection with Brian Eno
// Design MilkDesign Milk

Graham & Brown Launches Wallpaper Collection with Brian Eno

British wallpaper manufacturer Graham & Brown enlisted one of the most iconic figures in music to lend his creative magic to a collection of wallpaper that recently launched in the US. Brian Eno, a ridiculously prolific founding member of Roxy Music and frequent collaborator of artists like David Bowie, U2, Talking Heads, Coldplay, and more, has always dabbled in other mediums so it's really no surprise he's landed in the wallpaper arena. He created two bold prints, Flower Mask Blue Wallpaper and Flower Mask Jade Wallpaper, where he cleverly layered his own original designs with archival patterns from Graham & Brown.

The Mask series references abstract expressionism through its energetic graphics and vibrant color palettes which shift as you step away from it. The patterns will definitely add a dramatic statement to any wall complete with a cool story behind it.

Brian Eno says:

I think of wallpaper as ambient painting – an area of interior design that changes the atmosphere in a room. I really responded to classic floral designs and also those with West African roots from Graham & Brown's archive, resulting in a dynamic layering of pattern to create the collection – a kind of music to be played on walls.


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Friday, June 22, 2018

THE BULLWINKLE SHOW / Jay Ward Productions - 1960



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THE BULLWINKLE SHOW / Jay Ward Productions - 1960
// 13

THE BULLWINKLE SHOW aired on TV from 1960-63 and was one of my all time favorite cartoons, also at this time we had BEANY AND CECIL and FELIX THE CAT, holy crap, how in the Hell could you beat that?!! Not to mention WB and Hanna-Barbera. Great freakin' time for us kids back then!

In this episode the boys are working on their secret rocket fuel they want to sell to the government. Of course, Boris and Natasha show up, and some Moon Men!.. From the MOON!!

Rocky and Bullwinkle are walking down the street, Boris gets the word from Natasha, who's reading a secret message from Fearless Leader, to... Keel Moose!

But, Natasha finishes the message after Boris has already cut the rope holding a safe meant to fall on Bullwinkle... Complete message says... Oh, Do NOT Keel Moose!

Boris rushes downstairs to save Bullwinkle and ends up under the big old safe himself!

The boys are working away, trying to create a new rocket fuel. After succeeding, they realize that Bullwinkle never wrote the formula down, so, Rocky wants to hire a hypnotist to hypnotize Bullwinkle into remembering!

Of course, Boris and Natasha show up for the job...

It's not long before Boris has Bullwinkle eating out of his hand. Now, start talking!

So, Bullwinkle tells them everything he knows, it's so boring Boris and Natasha fall asleep!

When Bullwinkle finally gets to the rocket fuel formula, some Moon Men are listening in!..

They are my favorite little characters from the Moon, Gidney and Cloyd... Gidney has the wild mustache and Cloyd carries around his precious Scrooch Gun!

Generally speaking, Cloyd is interested in just one thing... Can I scrooch 'em now, Gidney?!.. And, Gidney would usually reply...

You can scrooch 'em now, Cloyd!..

This still fascinates me, that look of sheer joy on Cloyd's face is priceless!!

Besides the adventures of Rocky and Bullwinkle, the show included Fractured Fairy Tales, Dudley Doo-Right, Aesop And Son and Mr. Peabody & Sherman... Eegah!! is back tomorrow!

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Lineart Tips by Meelkui Buy the artist a coffee!

Challenge: Paint a Parking Lot



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Challenge: Paint a Parking Lot
// Gurney Journey

Painting by Scott Lloyd Anderson
There's beauty everywhere, right? Well, how about in a parking lot?

That's the subject for the next GurneyJourney on-location painting challenge. We've done this before with gas stationsgraveyards, weeds, and outdoor markets, and you've created stunning artwork.

Art in a parking lot
I invite you to paint some interesting aspect of a parking lot. You might paint a view across a lot, with or without cars. You could emphasize a light effect, an interesting sign, or a cluster of shopping carts, or a little bit of nature alongside the lot. It can be a New York vestpocket parking lot, an underground parking structure, or a suburban big-box lot.


How does the challenge work?
Everyone can upload their examples to this special Facebook event page. I will choose a Grand Prize winner and five Finalists. Each receive a coveted "Department of Art" embroidered patch, and the Grand Prize winner will also receive a free tutorial download.

I hesitate to call it a "contest" because there's no entry fee and the spirit is more about cooperation, community, and camaraderie than competition. We're all at different levels of skill and experience, but we're all out there braving the elements and trying out new painting ideas.

Painting by William Wray
Guidelines
• Must be painted outdoors, or at least mostly outdoors.
• The composition can include the scene beyond the parking lot, but the parking lot itself itself must be a part of the scene.
• You can focus on the ordinary aspects, the sublime aspects, the ugliness, or the beauty. Just make it  interesting. 
• All physical painting media accepted, such as oil, watercolor, acrylic, gouache, acryla-gouache, alkyd, casein, or water-soluble colored pencils.
• No limits on palette of colors.

Deadline
• You can enter as soon as you finish the piece, but no later than the deadline: Friday, July 27, 2018 at midnight New York time. Winners will be announced on Wednesday, August.

Bird's Foot Trefoil, donut wrapper, and plastic bottle
alongside supermarket parking lot
Submission Guidelines
• Free to enter
• It must be a new painting done for this challenge. In addition to a scan of the final painting, your entry must include a photo (or video) of your painting in progress in front of the motif.
• Upload the images to this Facebook Event Page. If you don't have a Facebook account, please ask a friend with an account to help you. Please include in the FB post a mention of what medium you used, and if you want, a word about your inspiration or design strategy, or an anecdote about your painting experience.
• In addition to the Facebook event page, you can use the hashtag #parkinglotchallenge on Instagram or Twitter to see what other people are doing.
• If you end up doing more than one entry, please delete your weaker entry so that we end up with just one entry per person.

Prizes
I'll pick one Grand Prize and five Finalists. All six entries will be published on GurneyJourney, and all six will receive an exclusive "Department of Art" embroidered patch. In addition, the Grand Prize winner receives a video (DVD or download) of their choice. Everybody who participates will have their work on the Facebook page, too.
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Check out the previous results for gas stations, graveyards, and outdoor markets.

Own the 72-minute feature "Gouache in the Wild"
• HD MP4 Download at Gumroad $14.95
• or HD MP4 Download at Sellfy (for Paypal customers) $14.95
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GurneyJourney YouTube channel
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Monday, June 18, 2018

It's Nice That | "Don't drink and dance in front of your peers": ten creatives on their biggest mistakes

It's Nice That | "Don't drink and dance in front of your peers": ten creatives on their biggest mistakes

"Don't drink and dance in front of your peers": ten creatives on their biggest mistakes

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Art and design schools everywhere preach the importance of failure. Tutors encourage students to let go of any preconceptions of what their work should be and, instead, try everything under the sun, using their mistakes as a means to learn. James Dyson famously made his way through over 5,000 prototypes before discovering the solution for the modern-day hoover, for example. Creativity and the generation of new ideas seem to go hand-in-hand with making mistakes, with the best ideas the result of learning from one.

The problem is, however, when it happens, it doesn't feel great. It can feel isolating and discouraging and no matter how much people tell you to keep trying, it can be incredibly discouraging. To offer some comfort and prove that failure really does happen to the best of us, It's Nice That spoke to ten creatives about a time they messed up and what they learnt from it.

Graphic designer, Jimmy Turrell

Jimmy Turrell: I actually did a whole album campaign for the band The Prodigy which then got killed right at the final hurdle.

It was mostly my fault, to be honest. I'd only just arrived in London and I was just a bit young and naive when I first got this giant commission. It was basically my first big job and I ended up presenting way too many options – while also failing to self-edit or curate my sketches – which I think ended up confusing everybody.

The whole drawn-out process (around a year and a half of my life) actually made me want to quit design altogether and do something else entirely. Instead, I dusted myself off and went back and did a masters at Central Saint Martins. Creatively I'd got stuck in a real rut and I just wanted to learn new techniques and experiment with different ways of thinking. It also prompted me to get a really good agent – (Heart Agency, who still represent me today, both in London and New York City) and this allowed me to really concentrate on the creative side of my practice.

So, all in all, it was a real blessing in disguise.

Writer and podcaster, Liv Siddall

Liv Siddall: I feel like I have put my foot in it professionally in some way at least once per day for the last decade. At Rough Trade when I was making their monthly music magazine I once printed the wrong band name across an entire double page spread, and the only reason I even noticed I had done it was because people started tweeting at the company about it. Jeez, that was a bad day. Also, when I first started working there people were always referring to bands or artists as being "Secretly Canadian" and I was like, "Why is everyone pretending not to be Canadian?" And I only realised much, much later that Secretly Canadian was actually the name of a label.

In terms of more abstract mistakes, I think my biggest mistake every day is thinking that I'm an idiot or not good enough for my job. Sort of like an intense version of imposter syndrome. I think I'll look back on my career and think hey, I was actually doing pretty well, I wish I had believed in myself more and given myself a break! I need to concentrate on how great I am at loads of stuff, rather than dwelling on how bad I am at other stuff.

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Creative director at ManvsMachine, Adam Rowe

Adam Rowe: The biggest mistake of my career came in 2014 at OFFF festival in Barcelona.

We were the headline act on the main stage, and somehow our ECD, Mike Alderson managed to con us into putting on gold lycra suits and performing an interpretive dance to a few 1000 people.

The real mistake though was necking a bottle of rum beforehand due to nerves and then putting up the near pitch black hood for the first time, as we walked on stage. The combination of rum, darkness and dance moves saw me fall from the stage, bringing down one of my colleagues and half of the stage with us.

All in all, I learnt a few things from this experience. Trust your gut and don't be tricked into doing things you don't want to do. Don't wear lycra. And don't drink and dance in front of your peers.

Set designers, Isabel and Helen

Isabel and Helen: We were commissioned to create an outdoor installation for a members-only rooftop terrace in Shoreditch one summer. We decided to create the whole thing out of hundreds of silver balloons.

It looked brilliant until half an hour before the event opened a strong wind blew the whole lot away!

We definitely learnt our lesson… to never underestimate the weather.

Illustrator and artist, Jordy van den Nieuwendijk

Jordy van den Nieuwendijk: My goodness, thinking back to the time I studied graphic design at the Royal Academy of Arts in The Hague gives me the heebie-jeebies.

Looking back now I guess it wasn't just me studying there but more a mix of personalities. Among others, I was mostly a confident illustrator that knew how to hold a pencil. A curious student, yet only eager to learn about a few things that interested me. A nerdy coder that decided to make a website for every project (I probably made a website of the nude model during life drawing). A hopeless Lothario constantly in love with pretty much everyone at art school. A humdrum typographer that always used a stretched version of Helvetica. A terrible planner that was always late for class and missed pretty much every deadline. A night-owl working nights before presentations. A defensive one trick pony. A Jack of all trades.

I guess you can say a big part of this was because I was an illustrator pretending to be a graphic designer, constantly feeling I was a fraud. For four years now I am ironically, yet proudly teaching the drawing class of the first year BA graphic design students at the Royal Academy where I studied. I can't help but wonder about the "could-haves, would-haves should-haves".

I wish I invested more time in critically reflecting on my own work. (Take distance. Analyse. Adjust.) I wish I entered the library at least once during my studies. I wish I got the most out of the workshops (wood, steel, screenprint, photography, etching). I wish I wasn't so hard on myself after failing. I wish I trusted myself more in the ability to create. I wish I more often took critique as helpful advice. I wish I understood more accurately what I was doing and why. I guess, in the end – although some people say failure is the best way to learn – I wish I actually studied…

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Photographer, Elena Heatherwick

Elena Heatherwick: A now amusing, but at the time heartbreaking/mortifying story, of the first time I did a shoot using a medium format camera.

My son was 18 months old, I was in the depth of breastfeeding/no sleep and desperate to start working as a portrait photographer. Small issue was that I didn't have a portfolio (or a proper camera). One day I walked past Michael Palin outside his house. It took me a few weeks to pluck up the courage but I went back and knocked on his door and asked if I could do a portrait of him and told him that I would make him a cake in return. Quite unbelievably, he said yes. He is such a dude. I disagree with whoever said don't meet your idols!

The day before the shoot I borrowed a friend's Mamiya RZ. I was clueless as to how to use the camera but stupidly confident that this was the way I wanted to work. No light meter but again, stupidly confident I knew how to read light. I shot two rolls of film.

When I got them developed the negatives were all completely underexposed, save for two massively unusable grainy images. But – the cake I gave him came out pretty good (pear and banana) and since then over the years he's kindly given me advice over email at various points in my career. Most recently introducing me to the work of a wonderful charity called Farm Africa who I very much hope to collaborate with soon. So I guess it's a story about how, if you want to pursue portraiture, it's important to be confident and open and to speak to strangers (and learn to bake?) but on the technical front it's probably best to do your homework first and come prepared rather than wing it!

Creative partner at KesselsKramer, Dave Bell

Dave Bell: It's hard to single out one supreme fuck-up when the road is scattered with much fuckuppery. But the one that stuck with me most is more a slice of stupidity than a massive mistake. I attended the School of Communication Arts, which was headed up by John Gillard, who has since passed away, sadly. Every student was assigned an external mentor from the industry and John gave me Steve Henry. Steve was one of the H's in HHCL, the infamous agency that made socially aware, very funny, very uncommercial work. The work managed to somehow be both completely left-field and totally spot on. Everyone wanted to work there.

He was a smart guy and I was a nervous student. So instead of seeing him again and again and sharpening the shit out of my work, I visited him once, mumbled my way through the meeting, quietly soaked up his gentle criticism and never went back to see him again. My advice: If you get a chance to meet with someone whose work you respect, see them as often as possible. Also, while I'm here: change your work often. No portfolio should stay in one place. It should live, evolve and shift shape. Go see the agencies that are too big, or feel too wrong, because sometimes seeing the places you hate energises you to fight harder for the places you love. Show the stuff you do on the side – to the right people, it's far more important than the "work-work". Mess up and mess about as often as you can, because now's the time to do it. And don't work for people who don't allow that. Avoid the arrogant, meet the humble, and stay in touch as much as you can without becoming a stalker. If you are still floundering after six months without a whiff of a job, start your own shoe company. Everyone needs shoes.

Photographer, Charlie Engman

Charlie Engman: As far as mistakes go, they happen all the time and are part of the process of creating, growing, and sustaining anything.

When I think back on notable mistakes I've made, the majority are moments of taking situations or people for granted, oftentimes unconsciously. Sometimes the mistake was missing an opportunity because I had an ill-considered judgment about it, and sometimes it was engaging an opportunity when I really needed to tend to my personal life. Everyone you work with, as well as the people who enrich and encourage your creativity on a personal level, are part of your process and your success. Value and respect the energy they bring to you, and don't make unfounded or unreasonable assumptions about them or their abilities. It can be healthy and important to critique and even to be self-interested at times, but empathy is essential.

Big picture: if you're honest yet empathetic with both yourself and others, most mistakes will be incidental at worst.

Co-founder and creative director of Hato, Ken Kirton

Ken Kirton: Something I've only come to realise recently is the importance of forging your own identity within your field of practice. As Hato we have always applied the values of craft, community and play at the forefront of our design, process and manner.

With time we came to realise that when working with clients that share these values, it meant for a stronger client-designer relationship. So for me, the most important thing is to stay true to your values, don't worry about what other designers and studios are doing. You may not win every project, but some projects just aren't meant to be.

Graphic designer, Janet Hansen

This isn't a clear moment where I feel I made my biggest mistake, but rather a consistent failure, over time, to realise a couple things I was doing wrong. These things in combination created a struggle for me that I thought would never end. My self-confidence in my ability to design was nonexistent. This crippled me, and I found myself in a sort of panic, just trying to emulate what others considered to be "acceptable". It was pretty miserable. I didn't like my work and my inability to voice my real opinions left me feeling extremely frustrated. Eventually, I learned to get over it, to believe in myself, and to take risks and only present things that I am proud of – it was worth it.

Supported by Lecture in Progress

If you're after more advice and insight into creative work and careers, check out Lecture in Progress, It's Nice That's sister company. Student membership is free and includes exclusive promotions from partner companies. To sign up, visit lectureinprogress.com

The It's Nice That Graduates 2018 is supported by Lecture in Progress and Polaroid Originals.

Disturbing And Beautiful Illustration By Davide Bonazzi



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Disturbing And Beautiful Illustration By Davide Bonazzi
// Fubiz

There are ones who speak, some others who write. For his part, Davide Bonazzi decided to draw. Native of Bologna in Italy, Davide is drawing since his childhood. Since, his work has been recognized by the famous Society of illustrators of New York, the Wall-Street Journal or the Huffington Post.

To create his drawings, he uses digital images and incorporates real textures that he scanned from selected objects. His drawings are made to raise questions : he expresses his vision of society, opposes absurds behaviors and contemporary abuses. He finds inspiration in graphic novels, movies, and more generally in visual arts.


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Vibrant Floral Illustrations



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Vibrant Floral Illustrations
// Fubiz

After having been a gift products designer for over a decade, American visual artist Jessica Phoenix decided to explore what she craves the most: the infinite possibilities provided by vivid colours and flowers offering us warm and stunning works to discover. «I wanted a way to create incredibly bright and bold pieces that explored colour in a way that was exciting to me. I paint flowers because they are an excellent vehicle for holding colour. Most of them are made up or only vaguely referencing real flowers, so I can freely choose any tint that pleases my eye», she says.

Sometimes, she adds a human figure in her works. Her lively graphic universe will doubtlessly seduce plant lovers. Follow her on Instagram.

 


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